Benutzer:MYR67/Artikelwerkstatt Stefano Lecchi

Stefano Lecchi (geb. 1803 oder 1804 oder 1805 in der Gegend zwischen Lecco und Mailand, gest. wohl um 1863) war ein italienischer Fotograf und Maler. Er gilt, zusammen mit John McCosh, als einer der ersten namentlich bekannten Kriegsfotografen. Seine Bilder zeigen unter anderem die Schäden nach den Kämpfen um die Römische Republik (1849). Sie sind der erste fotografische Bericht über die politischen Ereignisse des Risorgimento. Stefano Lecchi zog zeitweilig als Schausteller mit einem Diorama durch Frankreich, Großbritannien und die Schweiz. Lecchi entwickelte ein Verfahren zur Kolorierung von Daguerreotypien. Er wandte sich später der Kalotypie zu und hat neben Architektur- und Landschaftsaufnahmen auch Portraitfotos angefertigt.

Lebensweg

Der Lebensweg von Stefano Lecchi ist nur in Fragmenten bekannt.

Anfang des 19. Jahrhunderts, als Stefano Lecchi geboren wurde, bestand Italien aus zahlreichen voneinander unabhängigen Einzelstaaten. Das Land war ab März 1796 Schauplatz mehrerer militärischer Auseinandersetzungen zwischen Frankreich und Österreich und ihren jeweiligen Verbündeten. Ein Großteil des Lebens von Lecchi fiel in die politisch unruhigen Zeiten des Risorgimento, also der Bestrebungen zur Bildung eines unabhängigen Nationalstaates Italien, zwischen 1815 und 1870.

Stefano Lecchi war ein Sohn von Antonio Lecchi und Giuseppa Rossi.

Stefano Lecchi heiratete am 24. April 1831 die 1813 geborene Maria Anna Rizzo aus Palermo in Valletta auf Malta. Das Paar bekam vier Kinder: Achille, Mario, Antonia und Adelaide.. Stefan Lecchi war zuvor offenbar bereits mit Laura Grammatico verheiratet gewesen, inzwischen aber verwitwet.

Achille, das erste Kind von Stefano und Maria Anna Lecchi, wurde offenbar 1838 in Paris geboren. „Marin Antoine“ (Mario), ihr zweites Kind, wurde am 17. Dezember 1840 in Toulon geboren. Das dritte Kind, Antoinette Anne (Antonia oder Antonina) Lecchi, wurde am 28. September 1845 in Marseille geboren.. Das vierte Kind, Adelaide, wurde am 12. Dezember 1849 in Rom geboren.

Offenkundig zog Lecchi ab etwa 1836 mit seinem Diorama durch Europa, welches im Juli 1836 in Saint Helier auf Jersey, ab Ende August 1836 in Paris, im Januar 1838 erneut in St. Helier auf Jersey, im Juni 1840 in Toulouse, im August 1840 in Nîmes, im September 1840 in Marseille und im Dezember 1840 in Toulon gezeigt wurde. Ende April/ Anfang Mai 1841 gastierte Lecchi mit seinem Diorama in Genf.

Zu Beginn seiner Fotografentätigkeit arbeitete Lecchi offenbar ausschließlich mit Daguerreotypien und entwickelte ein Verfahren, diese nachträglich von Hand in lebensechten Farben zu kolorieren. In den 1840er Jahren wandte er sich dann jedoch offenbar der Kalotypie bzw. Talbotypie zu. Während man mit dem Verfahren von Louis Daguerre nur Unikate erzeugen kann, ermöglicht das von William Henry Fox Talbot entwickelte Kalotypie-Verfahren die Herstellung von nahezu beliebig vielen Abzügen.

1848 war Lecchi offenbar in Pisa, 1849 kam er mit seiner Familie nach Rom. Dort malte und fotografierte er zunächst Veduten und verkaufte sie an die schon damals zahlreichen Rom-Pilger und -Besucher. Im Jahr 1848 kam es auch in Rom zu revolutionären Umbrüchen, im Februar 1849 richteten Revolutionäre dort die laizistische Repubblica Romana ein, doch schon nach fünf Monaten wurde diese von französischen und spanischen Truppen besiegt. Direkt im Anschluss an die Kämpfe zog Lecchi in die Kampfgebiete, um dort die Folgen dieses Krieges abzulichten – seine Bilder in und bei Rom vermitteln einen Eindruck vom Ausmaß der damaligen Zerstörungen. Anders als in der Kriegsmalerei seiner Zeit drücken Lecchis Fotografien nichts Heroisches aus, vielmehr wirken seine Bilder zerstörter Brücken und Gebäude erschreckend.

In der zweiten Hälfte der 1840er Jahre erhielt Lecchi einen Auftrag des Königs von Neapel, Ferdinand II., die archäologischen Ausgrabungen in Pompeji forografisch zu dokumentieren.

In den 1840er und 1850er Jahren war Lecchi – außer in Italien und Frankreich – offenbar auch in Tunesien tätig.

In Rom blieb Lecchi – mit einer Unterbrechung im Jahr 1853 – bis 1859. 1860 verließen Stefano Lecchi, seine Frau Maria Anna und ihr ältester Sohn Achille die Stadt. Spätestens ab März 1864 ist Stefano Lecchis Fotoatelier in Valetta auf Malta nachweisbar. Aus dieser Zeit existiert eine Fotografie Lecchis, die den Revolutionär Giuseppe Garibaldi zeigt.

Offenbar sind die drei Lecchis von dort nach Alexandria in Ägypten gegangen, wo Maria Anna am 9. Mai 1882 im Alter von 69 Jahren starb. Ihr Sohn Achille Lecchi ist dort am 10. März 1898 gestorben.

Es gibt Hinweise darauf, dass Stefano Lecchi an einer degenerativen Nervenkrankheit (etwa der Parkinson-Krankheit) erkrankt gewesen oder an den Folgen eines Schlaganfalls gelitten haben könnte.

Literatur und Quellen

• Roberto Caccialanza, „Stefano Lecchi, from Milan, Pupil of Daguerre: the Last Biography“, in: European Society for the History of Photography (ESHPh), Wien, 16. März 2017, http://www.eshph.org/wp-content/uploads/2017/03/ESHPh-open-access_Caccialanza.pdf

• Giovanni Bonello, „Stefano Lecchi tracked down to Malta in 1860s“, in: The Sunday Times of Malta, 14. Februar 2016, S. 36, https://www.um.edu.mt/library/oar/bitstream/123456789/51714/1/Stefano_lecchi_tracked_down_to_malta_in_1860s.pdf

• Silvia Paoli, „Italy“, S. 752–758, S. 754, in: John Hannavy (Hrsg.), „Encyclopedia of Nineteenth-Century Photography“, Routledge, New York/ London, 2008, http://home.fa.utl.pt/~cfig/Anima%E7%E3o%20e%20Cinema/Fotografia/Enciclopedia%20of%20the%2019th%20Century%20Photography.pdf

• Isotta Poggi, „“And the Bombs Fell for Many Nights.” Stefano Lecchi’s photographs of the 1849 Siege of Rome in the Cheney Album“, aus: Costanza Caraffa / Tiziana Serena, „Photo Archives and the Idea of Nation“, De Gruyter 2015, https://doi.org/10.1515/9783110331837.203

Rohstoffe, Quellen, Zettelkasten

Caccialanza, „Stefano Lecchi…“, ESHPh

Roberto Caccialanza, „Stefano Lecchi, from Milan, Pupil of Daguerre: the Last Biography“

Although books and several articles have been written about Stefano Lecchi and his photographic works during his period in Rome in 1849, the life of this important character has remained somewhat mysterious. As a result of long and extensive research at the international level, it is now possible – for the very first time – to draw up a biography of Stefano Lecchi, full of new, interesting – and often surprising – information. http://www.eshph.org/blog/category/open-access-articles/ http://www.eshph.org/wp-content/uploads/2017/03/ESHPh-open-access_Caccialanza.pdf

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AUSZÜGE:

Diorama-Reisen

Am 16. Juli 1836 wurde ein Diorama von Lecchi in St. Hélier auf Jersey eröffnet.

Ende August 1836 zog er mit seinem Diorama nach Paris weiter.

Im Januar 1838 kehrte Lecchi nach St. Hélier zurück.

Am 24. Juni 1838 fuhr Lecchi mit dem Schiff Ocean von Jersey nach Calais und von dort weiter nach London.

Juni 1840 Toulouse.

On 10 August 1840, Stefano Lecchi opened his Diorama in Nîmes.

Lecchi’s presence ... in Marseilles in the first days of September 1840

During the month of December 1840, the painter was in Toulon.

From 20 April to 2 May 1841, Stefano was in Geneva, where he once again promoted his Diorama,…

On 24 March 1842, Lecchi opened a daguerreotypist cabinet at the Aix-en-Provence Museum. … left the city in Provence on 12 April.

Colorierte Daguerreotypien

…in the 10 October 1841 session of the Paris Science Academy, François Arago presented – in the name and on behalf of Lecchi – some daguerreotypes made with this new system, appreciated “for their colour full of truth and the freshness of the represented objects.”21 The method consisted of applying layer after layer of the chosen colour to each and every part of the images and then removing it shortly thereafter by washing the plate with warm water.22

On 1 October 1842, the artist, who was living at 2, Rue du Coq St-Honoré in Paris, sent his application to be assigned a (5 years) patent for the invention of his own procedures for watercolour paintings of Daguerreotype plates (obtained on 2 December).25 Lecchi included a description of his technique and a “drawing-portrait” in the file as a demonstration. A certificate of addition and improvement was later granted to the patent, issued on 31 December.26

Periskop-Dunkelkammer

Lecchi erfand eine Fotokamera mit Periskopglas. – Ist hier Periskop (Objektiv) oder Periskop gemeint?

S. 5/ 5: But Stefano was already studying another novelty he submitted to the 22 April 1844 session of the Academy of Science: it was about an innovative photographic device, differing from ordinary ones because the darkroom was deprived of an objective but provided with a periscopic glass covered with merged tinfoil reflecting the image on the plate and reversing it; moreover, it was then possible to operate by regulating the same plate and glass in order to obtain the maximum of clearness and, therefore, focus. This could be obtained thanks to an indicator on the quadrant reporting distance measures normally used to make portraits.33 This device was the object of discussion by Edmond De Valicourt who told that Lecchi “wanted to substitute” the traditional darkroom with this new system. The idea, however, was not new at all as it had been published many years before in the United States and in the United Kingdom by Richard Beard, who abandoned this project without achieving acceptable results. Even Lecchi’s device did not score big: the extreme difficulty of focus, the impossibility of operating on a plate of reasonable size without exorbitantly augmenting proportions of the glass, the lack of sharpness, the uncomfortable – and even “embarrassing” – size of the device, together with the excessive price, led to it being rejected by most photographers.34

• Roberto Caccialanza, „Stefano Lecchi, from Milan, Pupil of Daguerre: the Last Biography“, in: European Society for the History of Photography (ESHPh), Wien, 16. März 2017, http://www.eshph.org/wp-content/uploads/2017/03/ESHPh-open-access_Caccialanza.pdf

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Giovanni Bonello, The Sunday Times of Malta

[…] disappears from his native Italy around 1860, presumed dead. But he is not dead at all. He had moved to Malta, established himself on the island and opened a photographic studio here. […] S. Lecchi, Photographer, 141, Strada Stretta, Malta […] This portrait of Garibaldi proves conclusively that Lecchi was active in Malta as a professional photographer in 1864, and had his own photographic studio, not recorded so far. The first floor of the premises of his atelier, 141, Strait Street, Valletta, is large enough to have been his residence too. […] Sometime after Lecchi closed down, his studio premises were taken over by another photographer, Edward Grech Cumbo, who also used them for his business over several years. […] Stefano Lecchi, son of Antonio, was born in a small urban settlement near Milan in 1804 and grew to be a minor painter and a bold pioneer of photography. His inquisitive mind led him to experiment with original techniques and refinements in the camera. He seemed to have started by following the French Daguerre system, in which there was no negative, and so only one, high-quality, positive image could be made. He actually discovered and promoted the first colour tinting of daguerrotypes. But soon he switched to the British, Fox Talbot, alternative of photography, the calotype, eventually to prevail universally. This was based on a negative from which any number of (lower quality) positive images could be printed. He perfected the calotype o the point that Calvert Jones and George Bridges, both pioneer British photographers with a strong Malta connection, remained impressed by Lecchi and his work. Jones and Bridges were in constant correspondence with the inventor of the calotype, William Fox Talbot, and both frequented Malta for a considerable time; theirs are the very first calotype images of Malta recorded so far. They both knew Lecchi and his work which they admired. […] Lecchi travelled quite extensively- to Paris, to the south of France, to Rome and to Naples, where he was commissioned by King Ferdinand II of the Two Sicilies to photograph the spectacular ruins of Pompeii. He is best known for his extensive and absolutely pioneer war reportage of l849, which records through a large number of images (44 known so far) the landscape of the deadly struggle between the Papal and French forces on the one hand, and the supporters of the failed Roman Republic on the other. They constitute the very first photographic documentation in history of the devastation of war, with shelled palaces, destroyed landmarks, shrapnel-pockmarked buildings and a general air of desolation. Very few copies of his pioneering war albums are known to have survived, purchased mostly by the defeated supporters of a muted Italy. Though Lecchis original photographs seem to be extremely rare, various lithographic images derived from them circulated in large numbers. The photographer married Maria Anna Rizzo and the couple had four children: Achille, Mario, Antonio and Adelaide, who entered a convent in 1858. In Rome the family lived in Via del Corso, and then in Via del Babuino, Via dei Greci and Via Mario dei Fiori, all roads favoured by the extensive native and foreign art colony settled in Rome. At some point, something dreadful happened to Lecchi. What it was exactly was not known so far. In a contemporary biographical note, Augusto Castellani says: "The misfortunes which hit him prevented him from perfecting further his method which is not devoid of merits in some results". I believe I know now what this unexplained misfortune was. After 1860, Lecchi disappears completely from the radar, and those who studied his life believed he had died. The historic and controversial visit of Garibaldi to Malta in March 1864 on his way to London, inevitably split the factions of the island in two. The British generally, and a sizeable section of the Maltese liberals, welcomed him with emotion and enthusiasm. The majority, the more Church-oriented, opposed him - he was the freemason and the revolutionary who had taken up arms against the Pope in his campaigns to tmite the vru·ious states of a fractured country, including the Papal States. In Malta, the intelligentsia generally favoured the emancipation of ltaly, but at the same time had a strong traditional allegiance to the papacy. Hence the conflict, acrimonious and verbally violent, between those who took sides openly and without ambiguity. Numerically, the supporters in Malta of Pius IX, the Papa-Re, probably outnumbered those who favoured the unification of ltaly. The British, in the UK and in Malta, had an unqualified hero worship for Garjbaldi, with the exception ofthe ultra-conservatives in the Catholic ranks. When news of Garibaldi's landing in Malta on March, 23, 1864, spread among the inhabitants, his Maltese and Italian supporters on the island organised a loud welcome, with speeches and courtesy visits. Baroness Angelica Testaferrata Abela presented him with an Address signed by over 300 well-wishers (others say 190 only). The rest of the population observed a gla~cia!, hostile silence, broken by the occasional hiss and abbasso. The general and his two sons, Menotti and Ricciotti, lodged at the Imperial Hotel in 134., St Lucia Street, corner with Strait Street, Valletta, only a few doors up the road from Lecchis studio. They only left the hotel the following day to board the evening steamer that was to take them to London. […] Lecchi obviously obtained permission to photograph Garibaldi inside the hotel on the second day of his stay, and had the backs of his studio's photo-mounts overprinted with a special imprint to record the date and the place the photo was taken. That fact that this imprint was, quite exceptionally, in English rather than in Italian, shows that Lecchi believed that his main market for those Garibaldi portraits would be the sympathetic British in Malta rather than the hostile Maltese. […] My youthful studies in comparative graphology leave me with very little doubt that the person who drew it up was suffering from a degenerative disorder of the central nervous system, like Parkinson's, or, more likely, a crippling stroke.

Giovanni Bonello, „Stefano Lecchi tracked down to Malta in 1860s“, in: The Sunday Times of Malta, February 14, 2016, p. 36, https://www.um.edu.mt/library/oar/bitstream/123456789/51714/1/Stefano_lecchi_tracked_down_to_malta_in_1860s.pdf

Hannavy (Hrsg.), „Encyclopedia of Nineteenth-Century Photography“

» In Rome, we should also mention the work of Stefano Lecchi (1805–1860 ca.), author of numerous views of monuments and the first reportage of a war event, the clashes in Rome for the defence of the Republic in 1849. Lecchi, from Lombardy, took shots on site and then printed them as salted papers. He went to all the scenes of conflict, and often had soldiers pose in them for greater effect. His views, recently rediscovered and studied, constitute one of the first examples of a series of photographs dedicated to current events, and came before the series Roger Fenton did in 1855 on the Crimean war. However, the people involved in the action could not yet be photographed as it was happening, but only later, and so the images are full of an expressive force, often retouched by hand in the foreground with the insertion of figures to make up for the lack of action. « [...] » The events of the Risorgimento served as a catalyst for many photographers. After Lecchi’s shots in 1849, Eugène Sevaistre photographed the barricades in Palermo and the fort of Gaeta in 1860. Alessandro Pavia did an entire album of the thousand participants in Garibaldi’s enterprise of 1860, thus accomplishing a colossal work single-handed. Other photographers did thousands of portraits, especially in carte-de-visite format, of the leading fi gures of the Risorgimento. Garibaldi, Vittorio Emanuele II and Cavour are among the most recurrent subjects, followed by hundreds of protagonists of the different phases of the war. Gioacchino Altobelli and Ludovico Tuminello (1824–1907) shot the breach that had been opened in the Porta Pia in Rome in September 1870. «

Lit.: Critelli, Maria Pia (ed.), Stefano Lecchi, Rome: Retablo, 2001.

• Silvia Paoli, „Italy“, S. 752–758, S. 754, in: John Hannavy (Hrsg.), „Encyclopedia of Nineteenth-Century Photography“, Routledge, New York/ London, 2008, ISBN: 978-0-415-97235-2

Isotta Poggi, “And the Bombs Fell for Many Nights.”

In the summer of 1849, in the aftermath of a major, yet little-known, revolutionary battle on the Janiculum Hill, in the western outskirts of Rome, the Italian photographer Stefano Lecchi toured the sites of the military conflict to photograph the damage to buildings and city walls. These photographs, with some overlaps, have been preserved in a few public and private collections or reproduced as book illustrations or memorabilia prints.

... the siege of Rome, a military intervention by the French in June and July of 1849. The French operation, undertaken on behalf of Pope Pius IX., ended with the toppling of the Roman Republic, a short-lived constitutional government founded in February of the same year while Pope Pius IX was in exile in Gaetas, under the protection of the Kindom of Naples.

The Photographer Stefano Lecchi Stefano Lecchi (b. 1804) was a pioneer photographer, active in Italy, France, and apparently also in Tunisia in the 1840s and 1850s. Born in the northern Italian region of Lombardy, he moved to Rome, where he was part of the “Roman School” of calotypists. Though he is primarily known for the photographs discussed here of the 1849 Siege of Rome, his career can be reconstructed in part on the basis of – albeit scanty –information from contemporary sources.

Lecchi’s innovative experimentation in photography is attested by the method for colouring daguerreotypes that he presented to the Académie des sciences in Paris in 1842 and by his technique for optimising for sharpness of focus the distance between the photographic plate and the camera lens in relation to the subject. It is known that he was in southern France in 1844 and 1845 and in this highly experimental environment may have turned his attention to calotype technology, abandoning the daguerreotype. He was noted for inventing the use of iodine bromide on paper and for contributing to the development of the salt print process.

Correspondence between photographers George W. Bridges and Henry Fox Talbot indicates that Lecchi undertook a photography campaign in Pompeii (c. 1846 or 1847) at the behest of the King of Naples (then Ferdinand II, 1810–1859), during which he created fourteen views of the excavated site. Only two photographs from this campaign are so far known to exist: a view of a street in Pompeii and the Casa del Forno, included in the Cheney album. These are among the earliest known photographs taken at Pompeii. In the same correspondence, Bridges described to Fox Talbot Lecchi’s successful technical achievements in creating images that were sharp, even when printed on paper “of inferior quality,” and spotless, especially in the rendition of the skies. Both qualities are evident in the photographs of the Siege of Rome, the body of work for which he is best known.

Lecchi’s photographs were appropriated extensively as source images for illustrations. Before 1997, the work was known through copy prints in the Museo del Risorgimento in Rome and through lithographs in albums such as Danesi and Soleil’s Ruine di Roma dopo l’assedio del 1849 (“Ruins of Rome after the siege of 1849”), which influenced contemporary paintings of the events and heroes of the Risorgimento. Other images are views of cities in Italy and the south of France, with an emphasis on ancient ruins and major historical monuments.

In spite of Lecchi’s innovations and professional reputation, there are few references to him in the photographic history of the late 1850s, despite his important role in the defining events of the time. According to city records, he had an address in Rome in 1851, left the city between 1855 and 1856, and returned around 1859. He probably died in Rome between 1859 and 1863, reportedly ending his life in poverty.

• Isotta Poggi, “And the Bombs Fell for Many Nights.” Stefano Lecchi’s photographs of the 1849 Siege of Rome in the Cheney Album,

Isotta Poggi, „“And the Bombs Fell for Many Nights.” Stefano Lecchi’s photographs of the 1849 Siege of Rome in the Cheney Album“, aus: „Photo Archives and the Idea of Nation“, https://doi.org/10.1515/9783110331837.203

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Verschiedene andere Quellen

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„Stefano Lecchi und Luigi Sacchi zeigen die Kriegschauplätze des Risorgimento, subtile und bewegende Dokumente des folgenreichsten Ereignisses in der italienischen Geschichte dieser Epoche.“

Quelle: „Pathos und Idylle“ – Italien in Fotografie und Malerei, Sammlung Dietmar Siegert, Neue Pinakothek, München, Ausstellung vom 21. Mai bis 21. September 2015, https://photography-now.com/exhibition/107468

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Kriegsbilder von 1849 - Das zerstörte Rom von gestern erinnert an heute

Stefano Lecchi gilt als der erste Kriegsfotograf. Seine Bilder zeigen das zerstörte Rom von 1849. Nun kann man sein gesamtes Schaffen entdecken – und muss dafür nicht einmal das Haus verlassen.

Autor: Thomas Migge

Mittwoch, 12.02.2020, 08:26 Uhr

Zerstörte Barockpaläste und Lustschlösser, Ruinen in zerbombten Parks und Kampfgräben vor antiken Stadtmauern: Einige 100 Bilder zeigen die Zerstörungen in und bei Rom.

Es sind eindrucksvolle Fotografien aus dem Jahr 1849 – Bilder des vermeintlich ersten Kriegsfotografen der Geschichte: Stefano Lecchi.

Italiens Kulturministerium hat eine digitale Fotoausstellung organisiert, bei der dessen gesamtes noch erhaltenes Schaffen präsentiert wird. Auf einer Webseite [1] kann man es nun entdecken.

Stefano Lecchi – ein Pionier

Stefano Lecchi war Maler aber vor allem Fotograf. Seine Fototechnik war die Kalotypie, bei der aus einem Negativ verschiedene Abzüge gemacht werden können. Alte Fotografie eines zerstörten Bogens. Legende: Fast wie eine Zeichnung: für 1849 war Lecchis Fototechnik hochmodern. Diese Bild zeigt das Casion dei Quattro Venti. Movio Beniculturali , Link öffnet in einem neuen Fenster

Der 1803 geborene Italiener kam mit seiner Familie nach Rom. Dort malte und fotografierte er zunächst Veduten und verkaufte sie an die schon damals zahlreichen Rompilger und -besucher.

1848 kam es auch in Rom zu revolutionären Umbrüchen, im Februar 1849 richteten die Revolutionäre eine laizistische Repubblica Romana ein. Doch schon nach fünf Monaten wurden die Revolutionäre von französischen und spanischen Truppen besiegt.

Direkt im Anschluss an die Kämpfe beschloss Lecchi, die Folgen dieses Krieges abzulichten. Seine Bilder geben einen eindrucksvollen Einblick über das Ausmass der damaligen Zerstörungen. Verschwundenes Rom

Einige der Fotografien Lecchis schrieben Fotogeschichte. Wie etwa das Bild, das einen einsam in der Bildmitte stehenden Soldaten zeigt, umgeben von zerbombten Resten eines ehemaligen barocken Parks und den Ruinen des Casino dei Quattro Venti aus dem 18. Jahrhundert. Alte Fotografie: Ein Soldat zwischen Ruinen. Legende: Ikonische Fotografie: ein Soldat zwischen römischen Ruinen. Movio Beniculturali , Link öffnet in einem neuen Fenster

Wichtig sind vor allem auch jene Bilder Lecchis, die das so genannte «Roma sparita» dokumentieren – jenes verschwundene Rom, das Besucher heute nicht mehr vorfinden, weil es zerstört wurde. «Roma sparita» – das verschwundene Rom

Box aufklappen

Geschichten hinter den Bildern

Die digitale Ausstellung liefert interessante historische Hintergründe. Ein Team aus Kuratoren römischer Archive und des Getty Museum in Los Angeles erforschte sämtliche Fotografien. Zum ersten Mal überhaupt wurde geklärt, was auf welchen Bildern dargestellt wird.

Durch diese Recherche wurde etwa bekannt, dass Lecchi auch historische Gebäude an den Stadträndern ablichtete, die von den Republikanern zerstört worden waren. Damit wollten sie den Angreifern die Möglichkeit zur Einrichtung vor Vorposten vor den Stadtmauern vereiteln. Altes Foto einer zerstörten Villa, Rom 1849. Legende: Erschütterte Eleganz: Eine zerstörte Villa, Rom 1849. Movio / Beneculturali ,

Link öffnet in einem neuen Fenster

Erschreckend modern

Anders als in der Kriegsmalerei seiner Zeit drücken Lecchis Fotografien nichts Heroisches aus. Seine Bilder zerstörter Brücken und Gebäude wirken ungemein erschreckend. Auch weil sie auf erstaunliche Weise an Fotografien aus heutigen Kriegsgebieten erinnern.

Wie etwa an die zerschossenen und zerbombten Städte in Syrien, zum Beispiel Aleppo. In diesem Sinn ist das fotografische Werk von Stefano Lecchi ungemein modern.

Sendung: Radio SRF 2 Kultur, Kultur aktuell, 11.2.2019, 7:20 Uhr https://www.srf.ch/kultur/kunst/kriegsbilder-von-1849-das-zerstoerte-rom-von-gestern-erinnert-an-heute

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Roma 1849: Stefano Lecchi Il primo reportage di guerra https://www.movio.beniculturali.it/bsmc/stefanolecchi/it/1/home

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STEFANO LECCHI: PHOTOGRAPHERS OF ROME 1849 Date: 2011-10-25

10/25/2011 STEFANO LECCHI: PHOTOGRAPHERS OF ROME 1849 Maeci

The Getty Research Institute holds a rare album with 41 photographs by Stefano Lecchi (b. 1805) documenting the 1849 siege of Rome and its defense by Giuseppe Garibaldi, a key battle of the Risorgimento, the movement for Italian Unification. These little-known photographs, taken some six years before the famous images of the Crimean War by British photographer Roger Fenton, represent an early war photo-reportage. Introduced by Murtha Baca and presented by Isotta Poggi (GRI).

https://iiclosangeles.esteri.it/iic_losangeles/en/gli_eventi/calendario/stefano-lecchi-fotografi-di-roma-1849.html

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Italienische Wikipedia: https://it.wikipedia.org/wiki/Stefano_Lecchi

https://it.wikipedia.org/wiki/File:Stefano_lecchi_il_vascello_1849.jpg

Französische Wikipedia: https://fr.wikipedia.org/wiki/Stefano_Lecchi

WikiData Q3497975 https://www.wikidata.org/wiki/Q3497975

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Il primo reportage di guerra

Fino al 15 gennaio il Museo di Roma Palazzo Braschi ospita l'esposizione "Fotografare la Storia". In mostra 35 foto ottocentesche di Stefano Lecchi ("pittore-fotografo", 1805-1863) che illustrano l'assedio della Repubblica Romana (1849), messe a confronto con 15 stampe moderne, a opera di Marcello Benassi, Andrea Sabbadini e Lorenzo Scaramella. Un'occasione da non perdere per vedere il primo reportage di guerra che mostra i luoghi dove Garibaldi e altri patrioti accorsi da tutta Italia avevano difeso strenuamente la città, assediata dal corpo di spedizione francese, inviato a restaurare il potere papale.

https://www.repubblica.it/moda-e-beauty/2012/01/02/foto/mostra_fotografare_la_storia_roma-291214886/1/

Katia Brega, „Il primo reportage di guerra“, in: La Repubblica, 2. Januar 2012, https://www.repubblica.it/moda-e-beauty/2012/01/02/foto/mostra_fotografare_la_storia_roma-291214886/1/

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Fotografare la storia Stefano Lecchi e la Repubblica Romana del 1849 16/11/2011 - 15/01/2012 Museo di Roma

Al Museo di Roma Palazzo Braschi 35 fotografie Ottocentesche di Stefano Lecchi a confronto con 15 stampe moderne illustrano i luoghi dell'assedio della Repubblica Romana.

Sono rare e incerte le notizie sul “pittore-fotografo” Stefano Lecchi, nato intorno al 1805 nel territorio tra Lecco e Milano e scomparso prima del 1863. Probabilmente faceva parte dei protofotografi della Scuola Romana di Fotografia, tra cui Frédérich Flachéron, Eugène Constant e Giacomo Caneva, i quali utilizzarono la nuova tecnica del calotipo, la prima che permetteva di trarre stampe positive da un foglio di carta usato come negativo, ed eseguirono le più antiche vedute fotografiche di Roma.

La sua attività nella Capitale è attestata dal 1849 al 1859, anni in cui realizza vedute della città e il primo reportage di guerra sulle rovine causate dai combattimenti in difesa della Repubblica romana che, proclamata il 9 febbraio 1849, cadde dopo cinque mesi. Un’importante testimonianza sui luoghi dove Garibaldi e altri patrioti accorsi da tutta Italia avevano strenuamente difeso la città, assediata dal corpo di spedizione francese inviato a restaurare il potere papale.

Le preziose immagini realizzate da Lecchi agli albori della tecnica fotografica ebbero diffusione soprattutto in ambito garibaldino e conobbero un’immediata risonanza grazie alla loro traduzione incisoria che consentiva una più ampia divulgazione rispetto alle prime prove fotografiche.

Queste immagini sono ospitate dal 16 novembre 2011 al 15 gennaio 2012 al Museo di Roma Palazzo Braschi nella mostra Fotografare la storia. Stefano Lecchi e la Repubblica romana del 1849, promossa dall’Assessorato alle Politiche Culturali e Centro Storico - Sovraintendenza ai Beni Culturali di Roma Capitale e dalla Biblioteca di Storia moderna e Contemporanea di Roma. La mostra è curata da Maria Pia Critelli della Biblioteca di Storia Moderna e Contemporanea di Roma e da Anita Margiotta dell'Archivio Fotografico del Museo di Roma.

La mostra è un'occasione unica per vedere le suggestive riprese dell'assedio di Roma del 1849. Per la prima volta infatti il reportage di Lecchi viene presentato nella sua quasi totale interezza con trentacinque fotografie - carte salate da calotipo – della serie di quarantuno conservata alla Biblioteca di Storia Moderna e Contemporanea di Roma, che appartenne ad Alessandro Calandrelli, triumviro della Repubblica Romana con Mariani e Saliceti, dopo le dimissioni di Mazzini, Saffi e Armellini. Le immagini, estremamente delicate, per esigenze conservative sono esposte a 35 lux.

In mostra inoltre una serie di quindici fotografie scattate nell’estate 2011 da Marcello Benassai, Andrea Sabbadini e Lorenzo Scaramella negli stessi luoghi e, ove possibile, con le stesse inquadrature delle immagini di Lecchi. Le fotografie contemporanee sono state accostate, per un confronto immediato, ai relativi ingrandimenti delle fotografie antiche.

Catalogo: Palombi Editore

http://www.museodiroma.it/mostre_ed_eventi/mostre/fotografare_la_storia

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Geschichte fotografieren – Stefano Lecchi und die römische Republik von 1849 16/11/2011 - 15/01/2012 Museum von Rom

Im Museum von Rom Palazzo Braschi zeigen 35 Fotografien von Stefano Lecchi aus dem 19. Jahrhundert im Vergleich zu 15 modernen Drucken die Schauplätze der Belagerung der Römischen Republik.

Nachrichten über den "Maler-Fotografen" Stefano Lecchi, der um 1805 in der Gegend zwischen Lecco und Mailand geboren wurde und vor 1863 starb, sind selten und unsicher. Er gehörte wahrscheinlich zu den Proto-Fotografen der Römischen Schule der Fotografie, zu denen auch Frédérich Flachéron, Eugène Constant und Giacomo Caneva gehörten, die die neue Technik der Kalotypie anwandten, die es erstmals ermöglichte, Positivabzüge von einem als Negativ verwendeten Blatt Papier herzustellen, und die die ältesten fotografischen Ansichten von Rom schufen.

Seine Tätigkeit in der Hauptstadt ist von 1849 bis 1859 bezeugt, Jahre, in denen er Stadtansichten und die erste Kriegsreportage über die Ruinen der Kämpfe zur Verteidigung der am 9. Februar 1849 ausgerufenen und nach fünf Monaten untergegangenen Römischen Republik schuf. Dies ist ein wichtiges Zeugnis für die Orte, an denen Garibaldi und andere Patrioten, die aus ganz Italien herbeigeströmt waren, die Stadt, die von dem französischen Expeditionskorps, das die päpstliche Macht wiederherstellen sollte, belagert wurde, mit aller Kraft verteidigt hatten.

Die wertvollen Bilder, die Lecchi in den Anfängen der fotografischen Technik aufnahm, waren in Garibaldis Kreisen besonders beliebt und fanden dank ihrer Übersetzung als Stich, die eine größere Verbreitung als die ersten fotografischen Abzüge ermöglichte, sofort Anklang.

Diese Bilder sind vom 16. November 2011 bis zum 15. Januar 2012 im Museo di Roma Palazzo Braschi in der Ausstellung Fotografare la storia zu sehen. Stefano Lecchi und die Römische Republik von 1849, gefördert durch das Assessorato alle Politiche Culturali e Centro Storico - Sovraintendenza ai Beni Culturali di Roma Capitale und die Biblioteca di Storia moderna e Contemporanea di Roma. Kuratiert wird die Ausstellung von Maria Pia Critelli von der Bibliothek für moderne und zeitgenössische Geschichte in Rom und Anita Margiotta vom Fotoarchiv des Museums von Rom.

Die Ausstellung bietet die einmalige Gelegenheit, eindrucksvolle Aufnahmen von der Belagerung Roms im Jahr 1849 zu sehen. Zum ersten Mal wird Lecchis Reportage fast vollständig mit fünfunddreißig Fotografien - gesalzene Kalotypien - aus einer Serie von einundvierzig Fotografien präsentiert, die in der Bibliothek für moderne und zeitgenössische Geschichte in Rom aufbewahrt werden und die Alessandro Calandrelli gehörten, der nach dem Rücktritt von Mazzini, Saffi und Armellini zusammen mit Mariani und Saliceti Triumvirat der römischen Republik war. Die äußerst empfindlichen Bilder werden aus konservatorischen Gründen bei 35 Lux ausgestellt.

Ebenfalls zu sehen ist eine Serie von fünfzehn Fotografien, die im Sommer 2011 von Marcello Benassai, Andrea Sabbadini und Lorenzo Scaramella an denselben Orten und, soweit möglich, mit demselben Bildausschnitt wie Lecchis Bilder aufgenommen wurden. Den zeitgenössischen Fotos wurden zum unmittelbaren Vergleich relative Vergrößerungen der alten Fotos gegenübergestellt.

Katalog: Palombi Editore

http://www.museodiroma.it/mostre_ed_eventi/mostre/fotografare_la_storia

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Roma 1849: Stefano Lecchi. On line il primo reportage di guerra

di A cura di A. Rossi · Pubblicato Gennaio 11, 2020 · Aggiornato Gennaio 25, 2020

Il primo reportage di guerra finora conosciuto risale al 1849. L’autore è il pittore-fotografo lombardo Stefano Lecchi che immortalò le vicende della Repubblica Romana. Le sue immagini degli scontri tra i francesi di Napoleone III, scesi in aiuto alle forze papaline contro i sostenitori della Repubblica, ed i garibaldini e i volontari confluiti a Roma da ogni parte d’Italia, sono considerate le prime fotografie in assoluto di un fatto bellico. Il fotografo lombardo, dunque, prende di diritto lo scettro all’inglese Roger Fenton, erroneamente considerato finora il primo ad aver immortalato la guerra nel 1855 in Crimea.

Lecchi ha immortalato la fine dell’avvenimento storico usando il procedimento della carta salata (calotipia o talbotipia dal nome del suo inventore l’inglese W.N. Fox Talbot), un processo di stampa fotografica ai sali d’argento che permette sia la riproduzione dello scatto originario in varie copie, sia le riproduzioni positive da un negativo di carta.

Le immagini rimandano a una delle pagine più importanti del Risorgimento che vide impegnati i suoi protagonisti più celebri: Giuseppe Mazzini, membro del triumvirato a capo della Repubblica, Giuseppe Garibaldi, comandante delle sue truppe oltre ai volontari, (fra loro Goffredo Mameli, l’autore dell’inno Fratelli d’Italia, che combattendo a Roma perse la vita) che insieme alla cittadinanza tutta seppero resistere per mesi contro l’esercito francese comandato dal generale Oudinot che vinse con fatica e con l’inganno.

La Repubblica di Roma fu un’esperienza breve, durò dal 9 febbraio al 3 luglio 1849, ma riuscì a elaborare e approvare un’avanzata Costituzione che nella sua configurazione basica anticipò di un secolo la Costituzione italiana del 1948.

Dopo l’esperienza romana, Giuseppe Mazzini tornò all’esilio, Garibaldi partì per Venezia in soccorso dei repubblicani sotto l’assedio degli austriaci e lungo il viaggio morirono la moglie Anita, in attesa di un figlio, i patrioti Ugo Bassi e il romano Angelo Brunetti, più noto con il soprannome di Ciceruacchio.

Le fotografie di Lecchi, ora riunite dalla Biblioteca di Storia Moderna e Contemporanea di Roma e dal Getty Research Institute di Los Angeles, sono visibili on line grazie alla mostra digitale, Roma 1849: Stefano Lecchi. Il primo reportage di guerra, a cura di Maria Pia Critelli e Ilaria Poggi, allestita sulla piattaforma Movio e presentata a Roma nel dicembre scorso.

L’esposizione on line oltre alle immagini di Lecchi – con relative informazioni tecniche e storiche – contiene la produzione derivata dalle fotografie dell’artista lombardo, usate come base per le illustrazioni di vasta tiratura già a partire dal 1849, e specifiche sezioni riservate alle opere di pittori soldati e di altri artisti contemporanei alla Repubblica romana.

https://www.abbanews.eu/gusti-e-cultura/lecchi/

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Luminous Lint [unergiebig], http://www.luminous-lint.com/app/photographer/Stefano__Lecchi/A/

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Getty Museum Collection, Stefano Lecchi, https://www.getty.edu/art/collection/person/104NSW

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WorldCat, https://www.worldcat.org/title/stefano-lecchi-un-fotografo-e-la-repubblica-romana-del-1849/oclc/50639016

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ESHPh European Society for the History of Photography Europäische Gesellschaft für die Geschichte der Photographie http://www.eshph.org/